In fact, it still is, in some situations, but we’ve come a long way since the early days of photo editing, when you had to do it all by hand, in a process similar, to a certain extent, to what film retouchers did in the past. Removing the background detail behind hair is one of the most difficult tasks in photo editing… or it used to be. PhotoDirector 10 has a series of new features, including clipping masks, layer grouping and the ability to add new empty layers to projects, and the Background Removal function is not even new, but as these tools are always evolving, offering more refined results, I decided to try it in a simple project, but one with elements that has always been complex to solve in the past: removing the background from one photo with flyway or wispy hair. While trying some of the new features, I also checked the tools to remove backgrounds, and while playing with them decided it made sense to use the software to comment on the evolution of these tools. In this article I look at something else, the background removal options present in CyberLink’s PhotoDirector 10, which I also reviewed recently. I reviewed the program too, and more recently noted that Imerge Pro 2 is already available, with some new options included. I recently wrote here at ProVideo Coalition about Imerge Pro, from FXhome, a compositing tool which is the world’s first non-destructive RAW image compositor, available for both PC and Mac. Retouching and removing elements from images started almost as soon as photography became a popular medium, and it continues to this day, and now even smartphones users have access to options that would be considered “magic” or probably “witchcraft” two centuries ago. Larger size negatives, up to 8×10 inches (or 20x25cm) are much easier to retouch, but it was/is common sense that an intermediate copy should be used by those not experienced at retouching. With negatives, it is not advisable to retouch small formats, 35mm included, as the working area is much to small, but anything from 6 x 4.5 cm in medium format is workable, the detail complexity of the image being the only constraint, in some cases. Retouching prints and negatives concur to the same end but are two different arts and require different approaches. Those brave enough to try it directly on the negative, would follow a process not much different from what we do today in the computer, but riskier because there was no “Undo” if the negative was damaged. While we now do it digitally, in a cleaner process, studio and portrait photographers using film have to retouch the final image in a laborious process, including bleaching, cutting and scraping, many times on print. From complex compositions to the simple replacement of a washed out sky, we now have all the tools needed to do, many times almost automatically, what once took hours, sometimes days of painful painting of areas to be removed. The evolution of the photo editing software is amazing, for the variety of options we’ve been able to explore in recent years. Layer masks, content aware clone and other options allow users to mix content from different origins in a single final image. Requires at least 1 GB RAM, preferably more.Ĭompatible with Adobe Photoshop CS3-CS5, Photoshop Elements 6-9.Removing backgrounds from images was once an art reserved for a few, but the evolution of software has made the process not only automatic but intelligent, as PhotoDirector 10 reveals. PowerPC processors like G4 or G5 are not supported. Maintain transparency in hard-to-mask objects like veils and hair. Isolate areas for selective adjustments or bokeh effect.Create multiple cutouts for unique compositions. This capability allows users to have endless control over every aspect of color, detail, positioning and size in their images.Įasily extract intricate image details like hair and fur. Similar to a pair of scissors, ReMask 3 allows users to easily define the edges of an element to be masked / cutout from it’s background – which is an important feature in any post-processing workflow because it opens the door to a variety of creative and corrective tasks. Topaz ReMask is a multi-purposeful plug-in specifically engineered to handle the most common masking and extraction tasks facing photographers and designers.
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Please note: this version of MySocLab does not include an eText. And the Writing Space helps educators develop and assess concept mastery and critical thinking through writing, quickly and easily. Media resources with assignments bring concepts to life, and offer students opportunities to practice applying what they’ve learned. MySocLab for Race and Ethnicity courses extends learning online, engaging students and improving results. Providing a broad yet current assessment of our nation’s immigration and multicultural patterns, the text serves as a comprehensive source for racial and ethnic studies. The Eighth Edition discusses recent 21st century phenomena in diversity and immigration in the United States, including the rising number of Latino and Asian American youth and the continued discrimination of Native American populations. By examining major themes of multiculturalism, discrimination, injustice, and diversity, the text explores the historical patterns of our country’s treatment of people of different faiths, colors, and cultures. Race and Ethnicity in the United States explores the complex history of cultural differences in a nation comprised of immigrants. MySocLab should only be purchased when required by an instructor.Ī History of Misunderstanding: Race and Ethnicity in the United States If you would like to purchase both the physical text and MySocLab search for 013412698X / 9780134126982 Race and Ethnicity in the United States plus MySocLab for Race and Ethnicity – Access Card Package, 8/e NOTE: You are purchasing a standalone product MySocLab® does not come packaged with this content. “As we’ve gotten bigger, so have our problems.” “This image of San Diego being a quiet little paradise eroded in the ‘80s,” noted Maurice Friedman, a professor of philosophy and religious studies at San Diego State University. As they adjusted to the rapid-fire transformations around them, the emotional pendulum swung harshly, making it increasingly difficult to find a safe, comfortable middle ground. No matter where one looked in San Diego, there was change and activity in the ‘80s that rattled San Diegans’ psyches. “If nothing else, the ‘80s put San Diego on the map,” said Sam Popkin, a political science professor at UC San Diego.īy the decade’s close, however, many San Diegans might well have chosen obscurity over the accolades and notoriety-fleeting though they often were. Finally, the city began to shed its skin as a quiet Navy backwater-a process likely to be magnified as its explosive growth continues unabated into the next century.įrom a financial scandal that ensnared the city’s mayor to a killing spree at a McDonald’s restaurant, from sporting spectacles to racial tensions to increasingly urgent efforts to avoid “Los Angelization,” San Diego was a recurring blip on the nation’s radar screen throughout the 1980s. Even so, the 1980s was a remarkable period in which San Diego news frequently was national news. There was a definite sense here in the ‘80s of turning the corner.”Īny 10-year period in a metropolitan region of 2-million-plus people is all but certain to produce a welter of watershed events and individuals clamoring for the chronicler’s eye. “We may not want to admit it, but we’ve become a very big city with big-city problems, as well as attributes. “The ‘80s was the decade in which San Diego, for better or worse, came of age as a major city,” said Dennis Rohatyn, a professor of philosophy at the University of San Diego. Headaches that I had always struggled with were non-existent. I popped awake at 5:30 every morning with no alarm clock and had a ton of energy all day. Related: 5 Reasons Why We Chose to Do the Whole30 One month later I had lost 25 pounds and felt absolutely amazing. And I got ready to cook, clean, and plan more than I ever had in my life. I cruised through the Whole 9 Life website. You have to understand at this point I was literally having a dessert after lunch and dinner EVERY DAY! No wonder my husband was worried! I had never been able to stick with any eating program over a couple weeks – how could I go 30 days with no cheating what so ever? Y’all, I’m from Alabama! I need my sweet tea. Having said that I went into Whole 30 with a very negative attitude. So I looked at the program and could only say ‘well, I’ll try’ to which he replied ‘it’s like Yoda says: there is no try, only do or do not.’ The fact was that I was killing myself with what I was eating! If I had a treatable disease he’d be crazy for not encouraging me to treat it, right? Obesity is treatable. For my birthday I’d like us to do Whole 30 for a month.’ Now before you say ‘ Wow! Your husband is so mean!’ let’s just take a step back and think about it. So much so that for my husband’s birthday he sat me down and said ‘I’m concerned about you. While I didn’t particularly feel bad, I did need to lose a significant amount of weight. I could never do that! Why would I even want to do that!?” However, the more I heard people talking about it the more I became interested in it simply because the people that had done it felt so good afterwards. That’s just something that super disciplined people could do. When I first heard about the program I thought ‘ Yeah, right. So, if you can’t eat those things what do you eat? Well, basically you eat REAL food as direct from the source as possible: meat, seafood, vegetables, healthy fats and fruit. Why eliminate those things? The short answer is, while some of those things can be good for you there are other things that are better for you. THIRTY DAYS!!! But wait, you say, grains are healthy! Red wine is healthy! Beans are healthy. Whole 30 is a program in which you eliminate all alcohol, grains, dairy, legumes and sugar from your diet for 30 days. 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The source code for this lesson is available at github.Once I cover those, you’ll be close to being able to write small, simple, functional applications with everything I’ve covered so far. It’s worth mentioning that case classes also provide decent, default toString method implementations. Also, we have all getters defined by default. (You’ll see even more reasons to use case classes as you go along.)Īs mentioned, I write about lenses later in the book, when we get to a point where we have to “update as you copy” complicated objects.īut for now the next thing we need to dig into is for comprehensions. Similarly to the data class in Kotlin, Scala’s case class has automatically defined hashcode and equals methods. The copy method is just one reason for this, but it’s a good reason. As you can imagine, from here on out you’re going to be using case classes more than you’ll use the default Scala class.The way you do this in Scala is with the copy method, which comes with Scala case classes. Because functional programmers don’t mutate objects, when an object needs to be updated it’s necessary to follow a pattern which I describe as “update as you copy”.I cover lenses in a lesson later in this book. The general idea of these libraries is known as a “lens” (or “lenses”), and they make copying nested objects much simpler. But fear not: there are Scala/FP libraries that make this easier. The examples I just showed are a simplification of the code and description found at these URLs:Īs you saw, the “update as you copy” technique gets more complicated when you deal with real-world, nested objects, and the deeper the nesting gets, the more complicated the problem becomes. In each case, users should refer to the definitions of each individual scale for guidance on the dimensions of risk covered in each assessment. (More on this after the attribution.) Attribution These examples show how the “update as you copy” process works with nested objects in Scala/FP. You can shorten that code if you want, but I show the individual steps so it’s easier to read. Val hannah4 = py(billingInfo = BillingInfo(newCCs)) I talked to a buddy just the other day and he mentioned the same type issues with their deck getting bent up all the time as well. People have not forgotten them at all though. I still see these old school mowers every now and then. He was pretty rough on our lawn mower, so that had something to do with the deck in constant need of “body work.” My dad never met a stump or rock that he didn’t mind hitting with that old lawn mower. That was clearly not a good thing to have happen. But I remember my dad having to hammer out the deck when it would get dinged, causing the blade to hit the deck. It looked well built and for the time I guess it was. One issue we had with our Snapper was the deck. It was a used machine when we got it, so it was not hot off the showroom floor. Pulling a cord to crank her up was not a fun thing when it wanted to be stubborn. Ours had the cord and I certainly wished it had been an electric starter on many occasions. These rear engine riding mowers had the option of an electric start or a pull cord for cranking. But I was a kid, what did I know at the time? We probably should have sharpened the blade more often. We used it mainly for our own lawn so it was not like it was overworked. I don’t remember my dad doing much maintenance on it either. Our Snapper rear engine riding mower was a “Comet” if I remember correctly and it lasted many years. To be honest they were pretty slow! But once again, they were a much better option than walking behind a push mower. These rear engine riders were some of the most popular in my local area. People had more free time and did more yard work themselves. Except for kids like me cutting a few yards here and there, there was not a big need for lawn care providers. The lawn care industry was not a popular business back then. I don’t know how much commercial work you could have gotten from them though. These mowers were built pretty tough for homeowner use. Morpheus Photo Animation Suite v3.15 Features Include: MORPHEUS PHOTO ANIMATION SUITE RENDER KEEP QUALITY SOFTWARE
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